“…we have to redefine and explore what a lot of the terminology means in this space.”

-- Josephine Dorado

The sensorial fabric built between collaborators when performing/experimenting together through the mediated space raises awareness to those experimenting to the metaphysical aura that in the ends tends to define the experience and the results of such act.

Following on Josephine Dorado’s words, at one point in the video of the Wrap-Up session of this year’s Meta Academy edition at Bates College following Nancy Stark’s Underscore, this experience as many others that I’ve been fortunate to follow and be part of in the last two years ask for a re-definition of concepts used to describe sensations within the same shared physical space, an authenticity that exists even though “Touch” and “Space” don’t represent a direct action or feeling of presence in the same time and space. This only, transports us to a plane where the digital world exists as an aura from the physical world, and therefore speaking of it by referring to the already established notions of exteroception the tendency is to describe it as an outer body experience, when in fact the redefinition of those terms, or the act of working within the mediated space relies on a process of Proprioception, where one perceives the “other” by an internal recognition of our own movement and measures the strength and effort applied by comparison, establishing a proximity based on trust, just like we would do if sharing the same time-zone, place and studio. At this point touch itself exists when both cameras are on and sending information to each other, allowing whoever is behind them take advantage from that in any kind of format. That’s the power of music, we feel connected although we don’t feel physically touched by it.

The problem exists when the artifact, the physicality of such an experience exists only as digital and vanishes, or is captured, but the same happens on real time performances, that exist only between the moment they start until the moment they finish. After that is just a reproduction of that action, lived and experienced again if performed live or it exists mediated by any kind of registration if done.

The possibility of solving and transforming that into any kind of artifact is by using that encounter and transform it from what it is originally, through any kind of real time processing format (motion capture, data analysis, sound manipulation, etc.) other than that we stay in the plane of transmedia by not touching the original artifact (nowadays allowed by real time capturing, like the application used in this case, Google Hangouts) and more and more spectators demand that raw aspect of the work, Raw as Real, because that already has been re-defined.

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Born in Venezuela. Lives and works in Portugal where he graduated in Theater in 2008. Works as a video-editor, copy-editor, performer, visual artist both in individual and collaboration works. He highlights his work as a video-artist, where he develops works in the field of transmedia, video, net and telematic art. In 2011 was selected to be part of the Portuguese Internship Program INOV-ART, working as an intern and resident artist at CultureHub, Inc (New York), having developed work, in partnership, between 2012 and 2013 within his artistic practice.